Installation is one of the most popular and widespread forms of contemporary art. Installation Art provides the first clear account of the rise of installation as a form while revisiting and, in some cases, reassessing many well-known names of post-1960 art. This lavishly produced volume also introduces the reader to a wider spectrum of younger artists yet to receive serious critical attention. Artists featured include Vito Acconci, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Judy Chicago, Olafur Eliasson, Group Material, Isaac Julien, Ilya Kabakov, Yayoi Kusama, Cildo Meireles, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Smithson, Bill Viola, and many others.

Installation Art

Arts & Photography

Bishop, Claire

History & Criticism

Routledge

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies. This title explores the desire to move viewers out of the role of passive observers and into the role of producers. Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Roland Barthes, Peter Bürger, Jean-Luc Nancy, Edouard Glissant, Félix Guattari, as well as the first translation into English of Jacques Rancière's influential 'Problems and Transformations in Critical Art'. This anthology also includes central writings by such artists as Lygia Clark and Hélio Oiticica, Joseph Beuys, Felix Gonzalez-Torres, Thomas Hirschhorn, Rirkrit Tiravanija, and features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster and Hans-Ulrich Obrist.

PARTICIPATION /ANGLAIS (DOCUMENTS OF CO)

WHITECHAPEL GAL

On Value is a collaboration between Triple Canopy and choreographer/artist Ralph Lemon. The book is a multifarious conversation about the value of artworks and the labor and bodies that make them, especially as defined by institutions with whom artists have often had fraught relationships. In essays, poems, interviews and artworks, 19 contributors consider artworks that resist institutional parameters; how and why performers, choreographers and dancers might go about making art institutions into proper venues for their works; and how race figures into assessments of value. On Value emerges from Value Talks, a series of private conversations organized by Lemon in 2013 and 2014 at MoMA.

Triple Canopy and Ralph Lemon: On Value

Moten, Fred

Bither, Philip

Lowry, Glenn

Finkelpearl, Tom

Rainer, Yvonne

Edwards, Adrienne

Ligon, Glenn

Lax, Thomas

Beasley, Kevin

Court, Paula

Janevski, Ana

La Rocco, Claudia

Michelson, Sarah

Pendleton, Adam

Rawls, William

Triple Canopy

Disordered Attention: How We Look at Art and Performance Today

Verso

This searing critique of participatory art--from its development to its political ambitions--is "an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, 'Now that's art!' or 'That's art?'" (Library Journal) &nbsp; Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism.

Artificial Hells: Participatory Art and the Politics of Spectatorship

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

Installation Art provides both a history and a full critical examination of this challenging area of contemporary art, from 1950 to the present day. Using case studies of significant artists and individual works. Claire Bishop argues that, as installation art requires its audience to physically enter the artwork in order to experience it, installation pieces can be categorised by the type of experience they provide for the viewing subject. As well as exploring the methodologies of the artists examined, Bishop also explains the critical theory that informed their work. While revising and in some cases, re-assessing many well-known names, this fully illustrated book will introduce the reader to a wide spectrum of younger artists, some yet to receive critical attention.

Tate

In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle. This publication is divided into three parts: the first reproduces photo documentation of the original exhibit, the second compiles essays and interviews on Celant’s project and the third includes the installation views of the show in Venice. The book is completed by a "Register" of works included in both shows.

When Attitudes Become Form: Bern 1969/Venice 2013

Smith, Terry

Roelstraete, Dieter

Verwoert, Jan

Groys, Boris

Esche, Charles

Hoffmann, Jens

Phillips, Glenn

Martinez, Chús

Buchloh, Benjamin

Rattemeyer, Christian

Fondazione Prada

Video art, the Internet, globalization, nomadism, itinerant curators and biennale artists, Installation and Process art, PowerPoint presentations, multiculturalism, design, magazines, fashion, lounges, the DJ, VJ and house culture, blockbuster exhibitions in art galleries, social works of art and socially engaged artists… The art of the past 15 years has moved into these new territories rapidly--so rapidly that more artwork than theoretical reflection or historical contextualization has been generated. During the 1960s, artists and critics were fiercely engaged in naming each new trend--Op Art, Pop Art, Minimalism, Conceptualism. Movements were mapped as they happened. In the 1990s, however, the art itself, and the experience it provided, became enough. Focusing on themes such as The Body, Interactivity, Engagement, Documentary Strategies, Money and Curating, Right About Now provides a map for this work, from the 1990s to the present.

Right About Now: Art and Theory Since the 1990s

FOSTER, HAL

Velthuis, Olav

BOURRIAUD, NICOLAS

Allen,Jennifer

Von Bismarck, Beatrice

Cherry, Deborah

Berrebi, Sophie

Bleeker, Maaike

Boomgaard, Jeroen

Havránek, Vit

Spiegler, Marc

Zijlmans, Kitty

Valiz

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Books by Bishop, Claire